In the visual effects industries, all members are working to a production pipeline. In this case, they are working towards a VFX pipeline that is overlooked by a VFX supervisor or director. In this essay, I will be talking about some job roles that are covered in VFX industries and their responsibilities as to what they do in their respective jobs.
VFX Supervisor (onset): “VFX Supervisors overlook the visual effects on set when filming or in post-production VFX. They are in control of the VFX pipeline, including of the VFX artists that work in this process. They have ultimate responsibility for all the VFX elements created for a project by their company or studio. VFX supervisors work on a project from the early stages of preproduction. They are the main point cooperation between a VFX studio and the director or producer of the film or TV programme. Jointly, they decided on what visual effects is needed for all shots of the film. VFX supervisors then cooperate with VFX artists to create prototype materials to present. Theses can include concept art and 3D CGI. The prototype help inform and visualise the style of the VFX in production. VFX supervisors are present for filming during production so that they can look at the shots to see if they are satisfactory and prepared for the VFX elements. VFX studios prefer if shots (pictures) are ‘locked’ (edited and approved, ready to have VFX elements implemented) during filming. That means they can start working on the VFX while the rest of the film is being shot. VFX supervisors continue to lead their team when the film is being put together during post-production. They oversee the quality of all work produced and make sure that is in line with the vision of the director or producer. Depending on the size of the production, VFX supervisors, maybe be employed on a single film for up to two years.” (VFX supervisor in the VFX industry, n.d.) Previs Artist: “These artists pre-visualize what the overall presentation could look like and express their ideas with imagery. After all a picture tells a thousand words. Previs is a process of visualising a scene before producing it.
Previs generally takes the form of a 3D animatics, namely a rough version of a scene or scenes. Previsualization artists usually start with a 2D storyboard from a concept artist. Therefore, they work on concepts in pre-production processes. They produce draft versions of the different moving image sequences and they put it all together using their compositing and editing skills. Giving us the pre-visualization of the shot. To put things into perspective, the previs process is used to plan shots, work out the scale and timing and to show roughly where the characters are going to move. It’s used to map out how the visual effects (VFX) will fit into an otherwise live-action scene. Producing previs can save films and television series and shows valuable time and money on set or in post-production. Once a film is in production, previs artists help the other VFX aritsts maintain a consistent style in their work.” (Previsualisation (previs) artist in the VFX industry, n.d.) Look Dev Artist: “These artists use look development to observe and define the presentation of computer generated objects and creatures (non-realistic either behaviour or design) to make sure all assets in films or TV is consistent. For example if a concepts draws a creature, then the look dev artists decides and works out what skin of the creature will look like in different conditions – whether its dark, cloudy or bright. They work alongside lighting TDs, texturing artists and creature TDs (technical directors) to establish the different looks, balancing the processes of texturing, lighting and rendering to match reference images and real footage. The looks that the look development artist creates are signed off by the computer generated or visual effects supervisor. All the artists in their VFX pipeline then use these looks when producing the assets. This ensures consistency and quality.” (Look development artist in the VFX industry, n.d.) (3D) Modelling Artist: “An entry level job in VFX industry. These artists produce characters, weapons, plants and animals on a computer in 3D using CGI and often creating them based on concepts or reference materials. Firstly, the start creating a ‘wireframe’ (referred to as ‘mesh’ of the object.). This looks like a series of overlapping lines in the shape of the intended 3D model. From the mesh, they can sculpt the model of the object to firmly resemble what’s intended. They use digital tools, such as sculpting brushes, and a physical graphics pen and tablet to model and sculpt the character. They work in the early stages of the CG and 3D parts of the VFX pipeline. The 3D models that they produce can then move on to be animated, given textures and lighten the assets. If a modelling artist specialises in creating a specific type of 3D model, for example, creatures, then they may refer to themselves as a creature artist. In their case, they will (likely) create both the models and textures for creatures.” (Modelling artist in the VFX industry, n.d.) Texture Artist: “An entry level job in VFX industry. These artists make surfaces looks realistic on CG/3D models. Their tasks are to roughen objects or to make them shine. For example, scales on a dragon’s skin, reflections on glass, skid marks on roads or creases on a t-shirt. They start with a 3D model produced by the modelling artists that is usually in a plain grey shape. The texture artists paint the details onto the surface of the model until they look like a photograph. Texture artists sometimes create textures from scratch, so they have a satisfactory understanding of different kinds of real-world materials. Sometimes they work from a library of stock textures (Substance Painter materials). Or they might use photographs – usually photographs for live action footage of the film they are producing – in order to digitally project them onto a 3D model as a basis for the texture. Once a texture artist is satisfied with the textured surface that they have created, they can ‘bake’ (copy using a VFX program’s ‘baking tool’ which can be use in Substance Painter) the texture from one surface so that it can be used elsewhere as well.” (Texture artist in the VFX industry, n.d.) Match move Artist: “These artists match CG from live action footage (camera plates) so that two are combined in a convincing way.
They recreate the camera plates through a computer in a way that mirrors the live-action camera footage on the set in every way, including lens distortion. They do this by tracking the camera movements to ensure the real and virtual scenes appear from the same perspective. Maintaining consistency. On occasion, match move artists go to the film set to take measurements and put up tracking markers. From there, they use theses markers to track the camera movement and work out the relevant coordinates in the 3D scene. They do this using 3D tracking programs like Maya or Nuke (and NukeX). Matchmove artists also do body and object tracking, using markers to regenerate the movements of people, vehicles, creatures or other objects in CG. The motion files created (camera, object or body track) are then passed on to other departments via the VFX pipeline, so that, in due time, they can be seamlessly accumulated by the compositor.” (Matchmove artist in the VFX industry, n.d.)
Effects Technical Director: “FX TDs make it easier for VFX artists to utilize effects such as explosions and rushing water. They produce these effects for VFX artists to use in any VFX sequences. They write computer language scripts that generate the effects. FX TDs build and test software tools for the VFX artists to use and then they incorporate them into a VFX studio’s production pipeline.
Essentially, they are problem solvers. Each project presents its own complex obstacles. They are contemporary with the latest research and techniques and push software technological boundaries to find ways that make the directors’’ creative vision a reality on screen. They ensure the effects look consistent, convincing and realistic. Effects need to blend in seamlessly with the other VFX and live action components of the film or TV programme.” (Effects technical director (FX TD) (also known as technical producer) in the VFX industry, n.d.) Prep Artist: “An entry level role in VFX. These artists clean up backgrounds of live action footage prepared for effects to be layered onto for the compositor to use. The camera plates they work on either a moving or still image, don’t include foreground action or players on scene. They use specialist VFX software to clean plates. There is a variation of processes used for cleaning. For example, they remove any irrelevant particles (i.e dust and scratches) and items (such as boom microphones or crew members) from the frame. They sort out dropped frames in which some frames aren’t captured in each time resulting in camera jerks in action.” (Prep artist in the VFX industry, n.d.) Roto Artist: “An entry level role in VFX. Theses artists draw around and cut out objects from frames manually. Therefore, it makes required parts of the image that can be used, this is a process known as rotoscoping. Parts of an image that are wanted after cutting out are known as mattes. Roto artists work on areas of live action frames where CG images or other live actions images ca overlap or interact with live image. If the camera is not moving within a shot, rotoscoping might involve one frame. If the camera’s moving, roto artists trace the relevant areas of every frame within shot so that CG can be combined correctly with live-action footage. Roto artists need to have attention to detail, critical eye and patience in order to complete the tedious and repetitive work. In addition, roto artists assist in preparation of material for compositing.” (Roto artist (also known as junior visual effects (VFX) artist) in the VFX industry, n.d.) Compositor: “They create the final image of a frame, shot or VFX sequence. They accumulate all different digital materials (aka assets), such as CGI (computer-generated imagery.), live action footages and matte paintings and merge them to appear as one coherent image and shot. They consider visual aspects of a scene. Realistic lighting is vital aspect to visual aspects. Anything caused by light hitting a lens is a compositor’s responsibility. They relight in order to refine the look of the image or frame. Compositors do ‘chroma keying’ (aka keying). This is where they choose a specific part of an image/frame that has a clear colour or lighting and then extract that to be used elsewhere. This method is commonly (known as) ‘green screen’ or ‘blue screen’ footage, where a subject has been shot in front of a singular green or blue background, in order to be able to place the subject in a different setting or environment later, in post-production process. Compositors work as the final part of a VFX pipeline (aka the VFX production process.)” (Compositor in the VFX industry, n.d.) Compositing Supervisor: “Compositing supervisors are responsible of the department that accumulates all the different elements of the visual effects shots. They manage the compositors, who do this work, and check it for quality for quality assurance purposes. They are in control of for ensuring the continuity of colour between shots. Compositing supervisors are vastly experienced in compositing. They are specialists in gathering different digital materials such as CGI and live-action footage and accumulating them to appear as one coherent shot. They manage the team of compositors to meet the deadlines to the film or TV production company gets the VFX work on time. They may also composite shots for themselves if needed.” (Compositing supervisor in the VFX industry, n.d.) Runner: One of the 'entry-level position' roles in the VFX industries is a runner. You must be thinking to yourself - What is a runner? (Well for certain they aren't the kind that runs and does marathons that's from a completely different area!) What do runners do as a job? What defines a runner? What skills does a runner need in order to function at the job? How do they play a part in the VFX industries? How to get into the VFX industries by being a runner?
I will answer these questions and briefly go over the runners' role in detail, explain the relationship with other roles in VFX industries and how they all link together in the production of a finalised VFX shot.
Runners are used for all kinds of jobs and play roles in the industry for each purpose in media productions. For individual or team tasks, Runners will need to have an open mindset, be consistent and a hardworking ethic at what they are doing. As a runner, they "do a variety of jobs." (Runner - ScreenSkills, n.d.). Which raises a question - why do runners "do a variety of jobs" (Runner - ScreenSkills, n.d.) and what tasks exactly do they take?
Runners in VFX or animation industries can cover:
- Animation
- Production
- Floor (For film and TV purposes)
Runners can be placed into different departments resulting in meeting "all sorts of people and different departments" (Zaid Petros, VFX Runner at Framestore, 2015) Therefore, they are experimenting and trying all sorts of things in different cases and scenarios.
Being a runner is a vital gateway role for the VFX industry. Why? Firstly, according to VFX experts, it is about "trying to understand the politics, departments and pipeline" of the production and job you’re working for. (Escape Studios, 2019) Furthermore, to support their statement, they also addressed that "being a runner can give you time, breathing and access to the organisation." (Escape Studios, 2019) What this implies is that working as a runner in the VFX industry that can help you by being open-minded and preventing you, the runner limiting yourself in the desired job roles.
For example, if you were aspired to be a 3D modelling artist however you feel once you tried out that 3D modelling artist role and didn't feel that role was for you, you decided to become a matte painter instead because that is what you enjoyed doing and you saw yourself fit into that role more in comparison to that of a 3D modelling artist. Personally speaking, it all depends on the tasks and roles you take on a runner, you must question what you liked, enjoyed and if you fit the role in the VFX industry. What role do you think suits you the most? What did you enjoy the most after being a runner?
Secondly, "In some studios, being a runner is a route into VFX artist roles and comes with opportunities to learn about those positions." (Runner - ScreenSkills, n.d.) Rather than joining one specific entry-level role (i.e prep artist and layout artist), it's the ideal way to go for a runner role. Having the runner’s role would be the pathway entry point to find out which job role is your best in the VFX industries pipeline.
"Historically, entry to the VFX industry has been through being a runner." (Devereux, 2017)
What this means is that the entry point to join the VFX industry is to be a runner. All the reasons, questions and answers that were provided above help reinforce and support my statements (backed up by quotes). Furthermore, if you're worried about needing the experience or qualifications in order to become a runner then "you do not necessarily need qualifications or training." (Devereux, 2017) That being said, however, you will need plenty of skills to become a runner those skills are:
- Great customer service skills
- Have an understanding of post-production
- Basic literacy and numeracy skills
- Be enthusiastic and friendly
- Pride in what you do
- Show initiative
- Strong organisational skills
- Team working skills
According to VFX expert, Simon Devereux. Furthermore, whilst these skills are ideal it has been said that "many companies tend to look for individuals who have invested interest in post-production or have experience in the industry (even if it is self-taught)."(Devereux, 2017)
When it comes to creating VFX shots, there can be tasks that a runner needs to do tasks in order to contribute to the pipeline or production stages of VFX. Runners can get tasks to organise the times, on stage sets, live shots. The reason why they get runners to do these sorts of tasks is that the workflow on the pipeline can be maintained and each role has a purpose by contributing to the VFX pipeline itself.
For example, when doing a collaborative process. The runner can conduct and organise meetings for VFX teams, and the teams will talk about the process and production of their VFX projects. VFX teams may request runners to join in a VFX project with a team to run the production process. They can get the runner to try out a job role to try out the job and fit in with the team.
In some cases, a runner will have to fill in another role for the VFX team. Imagine the runner being a Modelling Artist. That Modelling Artist will have to collaborate with the team by producing computer generated imagery (CGI) in 3D software such as Autodesk Maya and Blender which will be used for an asset in the post-production process.
From there once a 3D asset is completed, the Modelling Artist will share the asset to other members of the teams; specifically, the compositors and render farmers (aka data teams).
Bibliography:
ScreenSkills. n.d. Runner - Screenskills. [online] Available at: <https://www.screenskills.com/careers/job-profiles/visual-effects-vfx/production-management/runner/> [Accessed 13 October 2020].
VFX Festival 2019 - Careers Panel, 2019 (video file), available from <https://www.youtube.com/watch?v=Nh9WeLpM7vM> [13th October 2020].
Devereux, S., 2017. Getting into VFX: Runners. [Blog] Getting into VFX: Runners, Available at: <https://www.accessvfx.org/blog/getting-into-vfx-runners> [Accessed 20 October 2020].
Zaid Petros, VFX Runner at Framestore. 2015. [DVD] YouTube: ScreenSkills.
<https://www.youtube.com/watch?v=eXr-89UsWXY> [Accessed 20 October 2020].
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